archive-de.com » DE » A » ART-IN-SOCIETY.DE

Total: 283

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".

  • See also www baudouinoosterlynck be

    Original URL path: http://www.art-in-society.de/AS7/B-O.shtml (2016-04-25)
    Open archived version from archive




  • (No additional info available in detailed archive for this subpage)
    Original URL path: /AS8/wb-fs.html (2016-04-25)



  • Fr 16 18 und Sa So 11 13 Uhr Samstag 18 Juli 2009 20 30 Uhr Ausstellungseröffnung Recordings Stein Hans Karelszoon Van Dijck Antwerpen Einführung mit Li Portenlänger 21 30 Uhr Texte zu Bild und Film von Bruno Grimm 22 00 Uhr Digitalfilme von Karin Mels Gent Filme der Avantgarde 1927 1937 mit freundlicher Genehmigung durch Cinematek Brussels und Fonds Henri Storck Bruxelles 23 30 Uhr Ende Bei Regen ab

    Original URL path: http://www.art-in-society.de/AS8/Eichst.shtml (2016-04-25)
    Open archived version from archive

  • Contemporary Belgian Art Shown in Duisburg (Germany) - --------------------------------------------------------------
    wohl seit vielen Jahren gründlichste Überblick über aktuelle Tendenzen belgischer Kunst in einem deutschen Museum ist unter dem programmatischen Titel Der eigene Weg bis 8 Juni mit den Positionen von 16 Malern Bildhauern Objektemachern oder Videokünstlern nur in der Ruhrgebietsstadt zu sehen Wer sich zur Kunstreise durch die Museumssäle zum so nahen und doch so fernen Nachbarn aufmacht muss mit Überraschungen rechnen Ein Zug von Melancholie und Morbidität ketzerischer Religiosität spielerischer Sinnlosigkeit und intelligent provoziertem Grauen liegt in der Luft Belgiens Künstler der Jetztzeit scheinen damit legitime Enkel des geheimnisvollen Malers James Ensor 1860 1949 aus Ostende zu sein der all dies in seinen genialen Gemälden formuliert hat Panamarenkos natürlich nicht funktionierende Flugmaschine Eisvogel 2003 schwebt wie eine Riesenlibelle an der Hallendecke und nimmt Kurs auf Jan Fabres 9 Meter mal 14 Meter große Leinwand Blaue Stunde 1987 die zwar mit millionenfachem Kugelschreiberstrich tiefblau gefärbt aber doch kein lockender grenzenloser Himmel ist Belgiens gefeierter Maler Luc Tuymans gewinnt dem traditionsbelasteten Motiv der Kreuzigung Christi mit einer neblig verunklarten Golgatha Szene ebenso neue Seiten ab wie Wim Delvoye Auch der Installateur aus Gentbrugge zwingt mit seinem abstrus zerdehnten und verdrehten riesigen schwarzen Bronze Kreuz Jesus Twisted 2006 wieder zum genauen Blick

    Original URL path: http://www.art-in-society.de/AS8/belgart_duisburg08.html (2016-04-25)
    Open archived version from archive

  • EDITORIAL - ------------------------------------------------------------------------------------------------------------
    as much as free market economies in the West and the so called Third World Everywhere advances in development modernization etc contributed to hypertrophic specialization increased differentiation or social stratification in other words supposedly blind social dynamics in line with the divide and rule politics of the hegemonial block and the one sided development of human potentials The vision once expressed by Marx that in a free society every individual could choose to be an engineer or natural scientist in the morning a poet or painter in the afternoon and a sports fisher in the evening to paraphrase him in a slightly updated more contemporary way came to nought both in the modern world that embraced the American way of life and the opposite now largely defunct camp where the new elite dreamed of overtaking the U S Can it be said therefore that Mondrian had to teach something to the Left Just as Paul Klee who marvelling at the invention of the tape recorder shouted Look matter hears And the time is not far away when our hands will move through solid bodies as if they were made of air Today the most aware among us realize very well that matter does not forget the concrete and steel of suspension bridges remembers excessive stress and accumulates such memories until the breaking point is reached And the human body overexploited remembers as well And so do animals so do vast overexploited farm areas so do forests so does the atmosphere and so do the oceans Our dreams dry up when we are overexposed to the sterile images and the buzz of the mass media Our intelligence withers when hypertrophous instrumentalization of such a potential reaches a certain threshold Does it make sense to point to Mondrian the painter of interlocked squares and rectangles produced by using black white and pure monochrome colors I would say we are still unable to ascertain the positive effects of confronting such works of art Is it true that they speak at once to the emotions and the intellect Is it true that they help create a balance between the two and more than a balance a simultaneous interrelated activity of both faculties of the human mind I can neither confirm it fully nor can I rule it out in any scientific empirically proven sense But I can rely on my own experience seeing his works of art but also that of other artists I care for I sense that both thoughts and feelings are triggered and perhaps both at the same time Confronting relevant art including that of Klee of Mondrian and other seemingly non political artists intuition as well as reflection are involved And as certain thinkers especially on the Left have pointed out practice práxis helps develop and thus heighten or increase in a qualitative way the human faculties involved in the process The actual use of the human hand that is to say manual práxis in the course of history was

    Original URL path: http://www.art-in-society.de/AS8/Editorial.html (2016-04-25)
    Open archived version from archive

  • Instead of an editorial: A Brief Note on the Contemporary Belgian Art Issue - --------------------------------------------------------
    perhaps mistook for it wasn t much in concept art in the performances we saw the installations even in informal minimal art linking up again to the subterranean gulf stream that was fed how many years ago by surrealist provocations and the surrealist attempt to bridge the gap between two postulates two demands Changer la vie Changer le monde The concern remains the quiet question thought inside the mind or the loud and roaring dissonant voice which both demand to know whether much of today s art has become too private too hermetic Or too harmless too ready to indulge in a politics of appeasement a very marketable strategy at times some say A curator like Jan Hoet involved in a Documenta exhibition before becoming a respected director of a new museum the MARTa recently recalled in a conversation with Ann Demeester the link to the late 1960s that still persists in his curatorial work Onze generatie kwam uit een bourgeois patriarchale cultuur Our generation emerged from a bourgeois patriarchal culture he said as if the struggles and conflicts of the 1930s and 40s both in society at large and the terrain of the arts had never happened It is true he like so many of us belongs to another younger generation and perhaps every generation is making certain discoveries and choosing to pick or not to pick certain fights anew For Jan Hoet to break with the self satisfied culture he saw himself emerging from meant that it was necessary to search anew again and again for secure aesthetic values Aesthetic you heard it right The close tie that had linked at least verbally and inseparably they claimed the social revolution and the poetic revolution in the project of certain petit bourgeois surrealist provocateurs was giving way to concerns

    Original URL path: http://www.art-in-society.de/AS8/a-brief-note.html (2016-04-25)
    Open archived version from archive

  • Three Installations by Leen Lybeer - ------------------------------------------------------------------------------------------------
    a clearance It is limited by a metal band that is a bit shiny which accentuates the impression of seeing a non organic object But all this is only a first impression An impression which certainly incorporates a moment of truth but which ignores the process of constructing this installation its history which is also the history of its site And it ignores the concept the thoughts of the artist her goal her intention that may have been pre consciously present perhaps If I have been able to view this ensemble a bit like a situation that is comparable to that of a temple inserted into the rain forest of Guatemala a temple abandoned today a temple left alone by itself without men and women without being used practically abandoned to the wind and the rain this is a description of an emotion caused by this work of art But on the other hand the facts are clear As starting point we have nothing but a tennis court the site of a tennis court abandoned to nature This human creation inserted into a space covered by trees as a rectangular place and insofar abstract but changed by time and nature which have given to this site a cover of green grass is also changing our reading of the art work that has been incorporated right here A work made of peat that is colored at any rate ephemeral and of metal that is in some way derived from a definitive form used earlier on by the artist in another context It is the form of an architectural model a maquette of the semicircles of seats in a modern or ancient theater and it appears like a design reduced to its extremely abstract essence Putting it differently one may say that it is the abstract the form of this maquette inserted into something abstract which has turned more organic more like nature the rectangular tennis court transformed by time the wind etc the maquette And this form of abstract or conceptual art inserted here is also going to change sooner or later in the same direction This abstract form derived from the modern theater derived from ancient theater is in the last analysis more than a mystic form more than a universal form which appears like a tree leaf made simple that has changing meanings in history and in different cultures Derived logically and consciously from the ancient form of the Greek theater the amphithéatron it has incorporated the logic of constructing this type of theater a theater of the kind which I have seen in Delphi inserted plausibly in the sloping nature of the hills as architecture organically adapted to the topography In other words the fact is decisive that the derivation of the constructivist form of the blue and mystic icon has been obscured in the history of the process of its construction The mystery is nothing but the forgotten praxis practice of human ingenuity it is the forgotten

    Original URL path: http://www.art-in-society.de/AS8/LLybeer3installations.html (2016-04-25)
    Open archived version from archive

  • Asparagus 3 - --------------------------------------------------------------------------------------------
    echo of the Hortus works Or rather a continuation of the process of exploration I encountered there A further still more radical search or a new attempt to probe to intrude more deeply into the secrets of reality and the mysterious language of forms colors visual rapports While we encounter again the basic strategy of combining a computer print and as a counterpart painting this time the concrete visual realization is more complex instead of a black painted space we get in this work two white perhaps cream white spaces or areas or panels Paintings that appear mentally as pure white as an emptiness evocative of silence each time our looks touch them in a rhythm interrupted by what is in between Their concrete physical whiteness alternates however with the whiteness of two other panels that are not monochrome One of them is a painting the other a computer print In one case the panel to the left that is to say the computer print we see minute splashes as well as clusters of blacks and colors within a white surface like musical notes in the midst of the whiteness of a sheet of music And in the other case the painted panel installed in between two white monochrome paintings we get tender hues of soft almost translucent colors These hues appeared to me like the fleeting rouge of a kiss or a fingerprint Like the untouchable far off blue of the sky Like the orange of a wing of a butterfly that has disappeared already that has left only the trace of orange in our memory Or is it the faint orange glow of a flame the flaming orange of the sun seen behind closed eyelids And yet more tender more fragile more evasive and evanescent There are other colors and their combined appearance in the midst of a white surface reminded another artist of the colors of a glass window in a church The colors of Gerhard Richter s glass windows in Cologne perhaps I can only wonder if there are other even more bewitching parallels to be found In contrast to the softness and evasiveness characteristic of the appearance of this non monochrome panel flanked by monochrome whiteness the other non monochrome panel with its minute splashes as well as the clusters of blacks and colors that appear before its white surface shows patterns of the print produced by a machine rather than painted colors Here without doubt the starting point is again directly or indirectly an image of the reproduced book mentioned above Perhaps Luc departed from a result of a transformation process or of transformation processes that had lead him to a work of the earlier Hortus series Perhaps he again departed from a book image It is clear that large xerox copies of a plate reproduced in the book grant very coarse deformations of theoretically regular dots that make up dark spaces in a reproduction They stand out before a white surface or background

    Original URL path: http://www.art-in-society.de/AS8/Asparagus3.htm (2016-04-25)
    Open archived version from archive



  •